Article about Coco Chanel from 1933

Posted September 5, 2012 by
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When I have time I love to browse old newspapers for insight into times past. Here is a fascinating one that highlights how famous Chanel had become by the 1930's while mentioning her "peasant" original.

World's Dress Creators - Women Who Make the Fashions*

To most women In Australia the great Parisian dress designers of the world are nothing more than names seen on the satin labels attached to dresses, coats, and hats. Perhaps, it hardly occurs to us to wonder what sort of women are these, whose names are famous throughout the world Chanel, Vionnet, Lanvln, Schlaparelll, Agnes, and Jane Regny.

Some interesting glimpses of their methods and their private lives are given under the title, "Behind the Seams," by a writer in "The Queen." Chanel, it appears, is by origin a peasant from the hill country of France. She has just reached her forties, is slenderly built, with a small head, and uses no make-up. Starting as a milliner in one room, she now owns a castle in Normandy, a villa near Monte Carlo, where she never lives, and various other properties, which she does not use. Whatever she touches turns to gold. Yet, though she designs clothes for the best dressed women of the world, her own dally costume is a sweater, coat and skirt, and hat. At night she wears the un copyable simple black gowns which she has perfected, with a perfect ar- ray of jewels, all of fabulous price, Oriental and all coloured pearls at her neck, chains of precious stones in vivid colourings at her wrists. In working over a model she will make and destroy it fifty times, ripping, cutting, recutting, and slashing till the mannequin retreats m a garment that looks like a war-shredded banner. Few of her clients ever see her, for she works in the background, but her creations are sold at prices none but the rich can afford to pay. She likes boats, travel, solitude, and is absent from Paris for months on end salmon fishing in Scotland, where cloth.es are the colour of the heather and the trees. She will have no successor; when she retires she says she will lock th,e door of her famous establishment and throw the key into the river Seine.

Works With a Doll.

Vionnet is another self-made woman who is proud of the fact that she started her career as a pin-picker, the first Job which used to be given to an apprentice, that of picking up pins from the dressmaking floor. She is modest, also, and seldom appears in her salons except to give advice when it seems imperative. Her method of creating Is different from others, for she works for hours cutting muslin dresses for a little wooden doll about two feet high-a sculptor's master- piece, she drapes the material on this tiny figure, pins and snips till It satisfies her, then throws the finished dress on the floor. Presently some- one comes In quietly and takes away the pile of little frocks to the work- rooms, where they are used to make the dresses that will please the fas- tidious society woman.

Family Life.

Jane Regny believes that a modern business woman need not sacrifice the normal functions of woman-mar- riage, motherhood, or social life-for her career. So hers Is an Intimate business, with Madame, Monsieur, Baby, and the dog all known to fav- oured clients. Her husband is In business with her, and she manages also to continue the social activities of her gay youth. Jane Regny started with simple sports sweaters, and gradually extended her field to its present wide range.

A Devoted Mother.

Having- started designing dresses when her daughter was a small child, Lanvin has won fame for her creations for women from 16 to 60. Throughout her life she has collected objects of beauty, which have en- abled her to have unusual sources upon which to draw for the designs for period gowns that are her specialty. Other world famous de- signers include Schiaparelli, an Italian; Peggy Morris, the English girl whose good taste is recognised throughout the world; and Mary Nowitsky, whose daring beach wear, lounge pyjamas, and lingeries are celebrated wherever well dressed women assemble for sports and pleasure.

Source: The Courier-Mail (Brisbane, Qld. : 1933 - 1954), Tuesday 14 November 1933, page 16

Chanel Shows 1934 Creations

Posted September 2, 2012 by
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From Australian Womens Weekly Saturday 7 April 1934

by MURIEL SEGAL, Special Representative in Europe

"CHANEL'S collection, which was shown for the Press, was full of new ideas and surprises. Youthful styles held sway, black and white and navy and white predominating, with color given by patterned silks and stamped fabrics and plaid and checked taffetas.

No emphasis was placed on sleeve treatment or shoulder, and again there was a decided suggestion of bustle evoked by pleats or loops at the back of the skirt. Often, too, a basque effect was achieved by the short jacket of two-piece frocks. Evening
gowns relied much on the richness of their material for effect, wonderful floral designs or tissues embroidered in gold and colored stones. The necklines were simple, practically none of the strapped harness effects, and cut well away from the throat in graceful folds like the drapery of a sculptured bust. Day frocks, chez Chanel, show the popular trend of being cut distinctly high in the front and a trifle lower at the back, often slightly curved out at the nape of the neck. One of the features of the collection was the introduction of diamente embroidery which was used to trim the tailored evening dresses for summer wear made of a particularly heavyweight pique. Some of these very attractive frocks were sewn all over in diamente, while others had neck and waist trimmed with bands.

All showed great interest in the new designs for stamped silks which Madame Chanel designs for herself instead of buying her materials from the well known fabricants as the dress houses do. This most enterprising of young couturieres has her own factories and designs and makes up silks, hats, perfumes, bags and jewellery accessories.

Talking of jewellery, as all the world follows Chanel fashions, the mannequins in her show displayed a new idea in ear-clips consisting of large clusters of colored stones set in silver or gold. Two little Mercury wings were another fetching idea, and this especially charming in a Mercury ensemble suitable for race meetings or more spectacular wear. Gold buttons fasten a black satin suit clipped at the neck with a Mercury wing brooch, the tiny Mercury wing ear-clips and the cap, Mercury shaped, made of gold lacquered feathers.

* * *

SUITS often had sleeves reaching above the wrist and showing a couple of inches of starched lawn to match white cravats.
Sleeves cleverly cut on the bias. Taffeta plaid ribbon having an angora thread running through makes original pussycat bows on morning frocks. Neatly severe seven-eighths length coats worn over striped, plaid, or stamped silk frocks.

Chanel's design for printed materials, giving the effect of interlaced ribbons, is one of the sensations of the season's fashions.
Also the designs, which look like Irish crochet lace on a dark background, are most effective and popular.

With their evening wraps, the mannequins wore various hair ornaments likely to be the most fashionable of the coming season.
Besides the Mercury wings and bandeaus there were gold coronets encircling the head all round, which bid fair to oust the overworked Alice bandeau from favor.

Madame Chanel says: "In this, as in all my collections, I have tried to give you something entirely new, without being eccentric. I have designed hats and frocks to suit types of to-day, and have not resorted to historical periods. I have created my fashions to suit one year—this year—and not for last year any more than for next year. They are fashions of to-day."

Chanel Accessories from 1933

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"One of Chanel's economy ideas for this season is the matching accessory set of hat, handbag, gloves, and neck ruffle—in themselves enough to impart distinction to any "little" black or navy frock.

This set is shown in the popular white pique, which has the added advantage of laundering perfectly. I know of
several women owning white cotton hats who send them to the laundry quite calmly, and get them back looking like new. Although white is regarded as the smartest, some women prefer these sets in pale rose, pastel blue or green."

Source: Australian Women's Weekly, Aug 5,1933

Gold Trouser Suit by Coco Chanel 1964

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Original Coco Chanel Design from 1964 Gold Lame pants suit (left)with chiffon sleeveless jacket - outfit on right is by Balmain

 

Pretty Chanel Dresses from 1933

Posted September 1, 2012 by
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The Australian Women's Weekly (1933 - 1982), Saturday 2 September 1933, page 19

GARDEN Party DRESSES
by Jessie Tait
A simple frock of plaid organza in pale pink, cherry and white. With
it is worn a boa composed of hundreds of petals of the organza. The stiffened organdie hat is white with
a plaid crown.
This charming French frock is of the stiff Mack organza with bunches of field flowers printed on it in red, royal blue and yellow. The
little cross-over coat can be removed. The large hat is of the same print.
In Joan Crawford's summer wardrobe is this spectacular frock of lacquered organdie in black and white. The horizontal pleats on the bosom break into ruffles that
form the sleeves. The hat is black organdie.
Chanel model of white organdie, part of which is embroidered in tiny field flowers. Blue cornflowers, red poppies, yellow and green wheat ears. The big white bow gives
width to the bodice. Chanel makes this swishing gown of pale green lacquered chiffon over a green taffeta slip. The wide sash is of tomato colored cire satin ribbon. The green hat has a bow of the same ribbon.